{"id":1473,"date":"2013-09-11T09:29:02","date_gmt":"2013-09-11T16:29:02","guid":{"rendered":"http:\/\/moviesharkdeblore.com\/site\/?p=1473"},"modified":"2014-10-12T09:36:11","modified_gmt":"2014-10-12T16:36:11","slug":"joe-swanberg-from-micro-budget-to-micro-brew-exclusive-11-interview","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/interviews\/joe-swanberg-from-micro-budget-to-micro-brew-exclusive-11-interview\/","title":{"rendered":"JOE SWANBERG: From Micro-Budget to Micro-Brew – Exclusive 1:1 Interview"},"content":{"rendered":"

By: debbie lynn elias<\/strong><\/p>\n

I admit it.\u00a0 I am in Joe Swanberg heaven right now.\u00a0 He acts, he writes, he directs, he produces.\u00a0 He delivers quirky, strange, even weird, fun and then on the turn of a dime, hits you hard with theme and messaging that makes you think.\u00a0 And right now, we\u2019ve got two chances to look at two different sides of Joe Swanberg on the big screen.\u00a0 With his wonderful performance in YOU\u2019RE NEXT, Adam Wingard\u2019s latest film that turns horror on its head, and then his own\u00a0 DRINKING BUDDIES marking Swanberg as a more mature and defined writer\/director, Joe Swanberg has become a hot property.\u00a0 Stepping out of the micro-budget world of indies like LOL, Silver Bullets<\/em> and V\/H\/S<\/em>, into the micro-brewery world of craft beers and microscopic world of relationships with DRINKING BUDDIES, Swanberg is thoughtful, reflective and appreciative of the life he now has and the growth he is experiencing as a man and a filmmaker.<\/p>\n

I sat down with Joe for this exclusive 1:1 interview talking YOU\u2019RE NEXT, DRINKING BUDDIES, growing up and filmmaking buddies.<\/p>\n

\"joe<\/p>\n

I saw YOU\u2019RE NEXT which is one the coolest fucking movies I\u2019ve ever seen!\u00a0 I saw your name, Ti West, Larry [Fessenden] and Adam [Wingard] and that\u2019s all I needed to even want to see the film.\u00a0\u00a0 Then I saw your performance – you\u2019re unlikeable, then you\u2019re cocky and you\u2019re arrogant and you fall and stumble and bleed so well.\u00a0 And then the false bravado and martyrdom of\u00a0 pulling an arrow out of your back. . .You\u2019re the guy that you just want to slap upside the head and say, \u201cBuck up, Man!\u201d<\/strong><\/p>\n

I know, I know.\u00a0 Believe me.\u00a0 I\u2019m very proud and excited to have anything to do with that<\/em><\/strong>. [laughing] It\u2019s a great role to play.\u00a0 When they sent me the script I was immediately very excited<\/em><\/strong>.\u00a0 Isn\u2019t it wild that this little community is in this movie that so many people are gonna see?\u00a0 It\u2019s shocking to me.\u00a0 It\u2019s really weird to think about that so many of us have worked together for so long on these little projects and now suddenly, it\u2019s like you\u2019re driving around and there\u2019s billboards everywhere<\/em><\/strong>.\u00a0 I don\u2019t think 99% of the people going to this movie are going to realize how bizarre it is that all of these people are together.<\/p>\n

It\u2019s this great magic among all of you and it\u2019s something I was going to ask you later but we might as well hit on that now.\u00a0 What is the magic of this little group of you and Ti and Larry and Adam and Simon [Barrett] and the rest of you?<\/strong><\/p>\n

Ti and I premiered our first movies together at SXSW in 2005.\u00a0 We both went back there this year and realized it was the 9th year in a row we had been to SXSW.\u00a0 There\u2019s something about connecting artistically with people early in your career where nobody has anything to gain from it that I think forges true friendships and true artistic collaborations.\u00a0 Larry was the only guy that sort of already had a career at that point and he\u2019s the coolest.\u00a0 There\u2019s zero ego involved with him.\u00a0 I think for the rest of us, we got to experiment together when we were young.\u00a0 We got to make weird projects, we got to try different things.\u00a0 Now that people are starting to have some success and the movies are getting seen by more people, there\u2019s still such a strong bond.\u00a0<\/em><\/strong> I think that\u2019s what it is.\u00a0 It was formed early enough that we all really trust each other.\u00a0 So we\u2019re ready to go there for each other.<\/em><\/strong><\/p>\n

Interesting is that you each have different sensibilities when it comes to filmmaking with your styles and the depth and content and texture that you each bring.\u00a0 Each is separate and distinct but then when you do come together, nothing over-rides the other and you get this perfect symbiotic relationship with all of you.<\/strong><\/p>\n

Yea.\u00a0 It\u2019s true.\u00a0 I think it speaks also to the shared struggles of all independent filmmakers<\/em><\/strong>.\u00a0 Whether you\u2019re making a horror movie, a romantic comedy, a drama, a musical, whatever – if you\u2019re working with limited means and limited resources, we all had to be clever in the same ways.\u00a0 We all had to make use of the tools in the same ways.\u00a0 So I think when you cross-pollinate genres then, at least for me, I discovered there\u2019s way more overlap than I suspecte<\/em><\/strong>d in the way Ti would make a movie and I would make a movie, even though the finished products are so different.\u00a0 We have to have the same attitude on set everyday.<\/em><\/strong><\/p>\n

\"joe<\/p>\n

Well, talking about attitude on set and going outside the box, you really stepped out of your comfort zone with DRINKING BUDDIES.\u00a0 My initial thoughts on screening the film were \u201clike a well crafted craft beer that celebrates the touch of a micro-brewer, DRINKING BUDDIES is one tasty treat that lingers like a welcome beer buzz afterglow.\u201d\u00a0<\/strong><\/p>\n

I\u2019m very happy to hear that.<\/p>\n

It\u2019s a wonderful thoughtful film.\u00a0 It is so textured and, pardon the beer pun, but it\u2019s very full-bodied with your characters and your story.\u00a0 Considering, from what I understand, most of the dialogue is improv-ed but you did actually structure out your plot points.<\/strong><\/p>\n

Quite a bit more than every before.\u00a0 I discovered I had to. Going into it I was nervous that I was basically taking this very small delicate process that I had been working with and I was about to subject it to a \u201cmovie shoot\u201d.<\/em><\/strong>\u00a0 I was nervous that things would be lost in translation and that I would find myself in the middle of a production that didn\u2019t have the intimacy or the spontaneity of the whole reason why I work this way.\u00a0 The producers and I had long conversations leading up to the shoot about which aspects were the most important to me.\u00a0 It always came back to performance; it came back to no matter how many people were working on the movie, once the camera is rolling I wanted it to feel like a small shoot, I wanted to lose as much of the infrastructure while the camera is rolling as possible.<\/em><\/strong>\u00a0 I discovered a few days in what a pleasure it was to have all of these helping hands around<\/em><\/strong> and rather than get in the way of the thing that I was excited to do, I could use all of these people to nurture the process basically.\u00a0 Additionally, the things that happened in my other films by default through lack of resources or lack of time or whatever else, didn\u2019t have to be issues here.\u00a0 Historically, if I was shooting a movie and we needed characters\u2019 apartments, I just had to find friends who were willing to turn over their place to me for a couple of days.\u00a0 But I didn\u2019t have an art department that could dress it, that could make specific choices based on the characters that are living there.\u00a0 I had to pick a place that roughly resembled where this person would live and then make do with what was there when we get there.<\/p>\n

And just say, at least, please don\u2019t have dirty dishes in the sink.<\/strong><\/p>\n

Exactly!\u00a0 It was such a thrill to be a filmmaker with DRINKING BUDDIES<\/em><\/strong> and say, with Ron Livingston\u2019s character, I want this guy to have a big record collection, I want him to have a really nice stereo, I want him to have a nice liquor cabinet – and he doesn\u2019t drink beer.\u00a0 He\u2019s got a lot of fancy whiskey.\u00a0 To be able to make character choices and then have the money and the resources to show up on set and have it look great and have a great production designer who has his own vision and has added 15 other things I didn\u2019t think about.\u00a0 It was an incredible experien<\/em><\/strong>ce to do the movie.\u00a0 It was amazing to be working at that level.<\/p>\n

The production design is one of the things that I think is just stunning with your contrast and so much going to each of your characters\u2019 sensibilities.\u00a0 You mentioned Ron Livingston\u2019s apartment.\u00a0 I am so in love with the brick walls and the record collection.\u00a0 Stunning!<\/strong><\/p>\n

Absolutely!<\/p>\n

And you capture different age demographics with your design but at the core you come back to the cleanliness and pristine beauty of the brewery.\u00a0 And kudos to you and cinematographer Ben Richardson.<\/strong><\/p>\n

He is amazing.<\/p>\n

Ben is very dear to me.\u00a0 To see this after Beasts of the Southern Wild<\/em>, it really gives him the opportunity to frame in a controlled setting.\u00a0 He has some very metaphoric visuals, a sleekness, that you use to wonderful ability with the storytelling.<\/strong><\/p>\n

He\u2019s great.\u00a0 I actually hadn\u2019t seen Beasts when I hired him to shoot DRINKING BUDDIES.\u00a0 It was through a conversation [that he came onboard].\u00a0 We just talked for an hour and there was a mind meld experience where I just knew that we would work together well, get along well, and that also, we were philosophically coming from the same place in terms of what kind of production we wanted to hav<\/em><\/strong>e.\u00a0 He\u2019s a performance oriented DP<\/em><\/strong> which is amazing.\u00a0 For me, it\u2019s the best thing you could possibly be.\u00a0 He somehow manages to be completely technically literate in not only film but digital.<\/em><\/strong>\u00a0 He\u2019s like an egghead who knows all the numbers and stats and is completely up to date with cameras and then manages to turn that off the second the camera\u2019s rolling and he\u2019s 100% an emotional presence<\/em><\/strong>.\u00a0 He\u2019s feeling light and framing.<\/em><\/strong>\u00a0 It was so fun when we did Q&A\u2019s at SXSW to hear the actors talk about Ben like he was another actor in the film; the way he moved the camera and the way his presence felt on set, that they could be aware of him and play with him in a way<\/em><\/strong>.\u00a0 It was fun to watch.\u00a0 It was amazing.\u00a0 Until he gets way to famous to shoot my movies, I will certainly ask him to shoot all of mine!<\/p>\n

That\u2019s the beauty of Ben because he is so grounded and such a decent, warm guy, he\u2019ll never get too big and never tell you \u201cno\u201d unless he has a conflict.<\/strong><\/p>\n

I hope not!<\/p>\n

Well, if he does, then you go to Jimmy Muro who is equally as impressive.\u00a0 With this new filmic structure of having more structure, particularly having more money for a \u201creal budget\u201d, what kind of challenges does that present to you?\u00a0 In the past you could just think on the fly but now you have structure in place that makes it a lot more difficult to deviate from a scenario arising from a flash of brilliance you might have in the middle of the night.<\/strong><\/p>\n

I\u2019ll tell you – The biggest challenge is just the pressure I put on myself to make a movie that justified the increased scale.<\/em><\/strong> It\u2019s nerve racking.\u00a0 Not in a bad way.\u00a0 Actually in a good way.\u00a0 It\u2019s a nice kind of pressure.<\/em><\/strong>\u00a0 But as this movie came together – when I first started talking to Alicia [Van Couvering] about the story, I didn\u2019t know how much it would cost.\u00a0\u00a0 It wasn\u2019t a movie where we were like, \u201cwe want to make a movie of this size.\u201d\u00a0 It was that I want to set a movie in a brewery, I want to work with these characters.\u00a0 Then as the budget came together we just realized it was going to have to be quite a bit bigger than anything I had done before<\/em><\/strong>.\u00a0 There was a moment where it was \u201cOh shit.\u201d<\/p>\n

\"joe<\/p>\n

Only one \u201coh shit\u201d moment? [laughing]<\/strong><\/p>\n

[laughing] That was the first \u201coh shit\u201d moment.\u00a0 I\u2019m gonna have to make this thing and I can\u2019t just decide I want to put a camera on a tripod and shoot a 12 minute unbroken take of two people talking.\u00a0 It\u2019s not gonna work.\u00a0 But, honestly, the experience of being on the set of YOU\u2019RE NEXT and watching Adam [Wingard]<\/em><\/strong> who I met when he was flat broke, who was probably flat broke the day they started shooting YOU\u201dRE NEXT, too [laughing] – this is a guy who slept on my couch for a month while we made three micro-budget movies in a row.\u00a0 He and I came from the world of nothing – to get to Columbia, Missouri and see this guy commanding a ship of a crew of 30 and tons of effects and two cameras and all this stuff.\u00a0 It was inspiring.<\/em><\/strong>\u00a0 I\u2019m not often inspired by my close friends in that way.\u00a0 You have these heroes that are kind of unreachable.\u00a0 \u201cOh, it\u2019d be great to make a movie like Robert Altman some day.\u201d\u00a0 But your friends are just your friends and you\u2019re like, \u201cWe all just do these things, but these are the gods.\u201d\u00a0 It was amazing to get there and really see Adam step up to that level and work his ass off and then to come into the editing room and just focus and get that cut ready for Toronto.\u00a0 I just saw a guy who is prone to being a sort of stoner-slacker kind of dude, I saw him really like a laser, just hone in on this movie and he made a great movie.\u00a0 In a way [for me], it was no more excuses.\u00a0 It\u2019s possible to go from a $5,000\u00a0 production to a much bigger movie and it\u2019s possible to make something great.\u00a0 Going into DRINKING BUDDIES, I thought of him every single day in terms of, \u201cWake up. Go do your job.\u00a0 Laziness is not an excuse.\u00a0 Indie street cred is not an excuse.\u00a0 There\u2019s you and a good movie and you can\u2019t let anything get in the way of those things.\u201d<\/em><\/strong><\/p>\n

What made \u201cnow\u201d the right time for you to do DRINKING BUDDIES?\u00a0 To step up your game and challenge yourself?<\/strong><\/p>\n

I had a kid which is a very cliche reason, and I\u2019m not saying that financially.\u00a0 Emotionally, just the changes I went through in my life being responsible for another human being.<\/p>\n

All of a sudden you\u2019re a grown up.<\/strong><\/p>\n

Yea!\u00a0 There\u2019s no denying that I\u2019m a grown-up now.\u00a0 I can\u2019t fool myself anymore. [laughing] And, I don\u2019t know, I was ready.\u00a0 Coming out of Hannah Takes the Stairs<\/em>, there was interest from agents and that was sort of the first thing that I had made that had gotten some attention.\u00a0 I was so punk rock about it at the time.\u00a0 I blew a lot of people off.\u00a0 I didn\u2019t return phone calls and I was already midway through the next movie and I just felt like I have zero interest in that.\u00a0 \u201cThose movies suck.\u00a0 I\u2019m doing my thing here.\u201d\u00a0 I think it was a process of growing up.\u00a0 I went hard in that other direction and I\u2019m glad that I did.\u00a0 I made very weird movies.\u00a0 I explored a lot of topics that aren\u2019t commercial that I\u2019m glad that I made when I made them.\u00a0 But, I\u2019m at a point right now where I don\u2019t take for granted what it means to come out to a movie theater and plop down $15 and spend two hours watching somebody\u2019s work.\u00a0 It\u2019s a responsibility that I feel now in a way that I didn\u2019t used to and I want to be an active participant in that transaction.<\/em><\/strong>\u00a0 It\u2019s tough to say these things because I fear if I were to read somebody else saying these things it would sound like some kind of lowest common denominator statement.\u00a0 That\u2019s not at all what I mean.\u00a0 I\u2019m not dumbing the movies down now to make them more accessible and commercial.\u00a0<\/em><\/strong> I guess what I mean is there are choices that I can make that are more difficult choices to make because now I have to do two things.\u00a0 If I\u2019m making a $10,000 movie that I know is just gonna play arthouses, then that\u2019s its own set of challenges and I can really be completely free and crazy to try whatever I want with the goal of trying to put something on screen that I feel artistically connected to.\u00a0 With something like DRINKING BUDDIES, it\u2019s not the opposite of that.\u00a0 It\u2019s not that now I just have to put whatever on screen is gonna make people happy.\u00a0 It\u2019s actually doubly difficult because not only do I want to put something on screen that I\u2019m artistically connected to, I also want to put something on screen that\u2019s gonna entertain an audience for an hour and a half.\u00a0<\/em><\/strong> It\u2019s not less of a challenge.\u00a0 It\u2019s twice the challenge.<\/p>\n

\"drinking<\/p>\n

Sure, because you\u2019re not just doing it for yourself or your sensibility. You\u2019re trying to satisfy yourself and everybody else without sacrificing your integrity.<\/strong><\/p>\n

Yes.\u00a0 That\u2019s right.\u00a0 So, when I look at it that way, it seems noble as a challenge.\u00a0 Obviously I won\u2019t successfully do it everytime.\u00a0 Even all my favorite filmmakers manage to fuck it up every once in a while, but that\u2019s the point that I\u2019ve reached.\u00a0 That\u2019s why \u201cnow.\u201d\u00a0 That\u2019s why it was the time to do DRINKING BUDDIES.\u00a0 I\u2019m ready to have a dialogue with the audience.\u00a0 I\u2019m ready to have that be a two-way conversation and I\u2019m ready to tell stories.\u00a0 I\u2019m ready to entertain and I mean that in the most sacred tradition of the word entertain. . .I want to engage them.<\/em><\/strong><\/p>\n

The characters resonate but you take them beyond resonating.\u00a0 You have guys who go hang out in happy hour like 90% of the world does.\u00a0 But then you also show them at work.\u00a0 And you show how pristine and how careful they are, and the pride they have in themselves, in their work, in their job and in a job well done.\u00a0 It\u2019s not just a stoner-slacker movie.\u00a0 These are responsible people like so many of your core audience is moving into their own responsible stage of life.\u00a0 It\u2019s very very thoughtfully portrayed.<\/strong><\/p>\n

Thanks.\u00a0 It\u2019s important.\u00a0 I\u2019ve sort of always hoped that the movies would grow up with me<\/em><\/strong> and that they would just accurately represent wherever me and my friends were at, at whatever time we were making the movie.\u00a0 These marriage conversations and relationships are getting more serious.\u00a0 The stakes are higher.\u00a0 People\u2019s careers are becoming more important to them.<\/p>\n

You\u2019re not just working at McDonald\u2019s. <\/strong><\/p>\n

 <\/p>\n

Yea and you\u2019re not just freelancing, you\u2019re not just whatever.\u00a0 The time has changed from \u201cI\u2019m just doing this now while I figure out what I want to do.\u201d\u00a0 At this point, most people have figured out what they want to do and they\u2019re trying to get good at it or trying to be successful at it.\u00a0 And well, you know, I\u2019m going to a lot of weddings these days.\u00a0 The big hope is that [my movies] are universal topics as well.<\/em><\/strong>\u00a0 As the stakes get higher, these movies become less navel gazing or whatever the detractors said about them.\u00a0 They become less specific to just middle class white people, too.\u00a0 The issue of \u201cdo we take this relationship to the next step\u201d becomes an issue that everybody deals with even though the characters in DRINKING BUDDIES are still middle class White people.\u00a0 The hope is as well that the audience expands just because the stakes get a little higher and the themes become a little more universal.<\/em><\/strong><\/p>\n

 <\/p>\n

This is the first film where you have not worn every hat in the production.\u00a0 You gave up control of cinematography to Ben, you retained your editing control though which is important, especially for a film like this that is improv-ed.\u00a0 Only you know what your story structure is.<\/strong><\/p>\n

 <\/p>\n

That was important.\u00a0 That was very important.<\/p>\n

\"joe<\/p>\n

But how important is it to you as a director , be it now or even ten years from now, that you do have this eye and these capabilities for cinematography, editing, writing, etc.\u00a0 How much does that inform you when you do give up some of the reins?<\/strong><\/p>\n

It\u2019s helpful.\u00a0 I suspect that even if I move into an area where I\u2019m mostly being a director that I will still be making small movies with my friends where I am doing everything because want to stay in practice.\u00a0<\/em><\/strong> It\u2019s helpful.\u00a0 I think all directors ought to know what it\u2019s like to hold a boom pole on somebody\u2019s head.\u00a0 I think they ought to know what it\u2019s like to be a cinematographer.\u00a0 They ought to know what it\u2019s like to be an editor.\u00a0 It\u2019s all useful.\u00a0 Just like what I was saying in answer to your last question, you do reach a point where you\u2019re in your 30’s and if you want to be really good at something, you kind of have to focus on it.\u00a0 It\u2019s how I feel about directing.\u00a0 It\u2019s a very specific type of production which I can wear all of the hats effectively.\u00a0 On a movie like DRINKING BUDDIES, I would not have been effective if I had also tried to be the cinematographer and also tried to be something else.\u00a0 At least not yet.<\/em><\/strong>\u00a0 Guys like Soderbergh and some other people have managed to remain effective even at the very high production levels, but it took a while.\u00a0 It wasn\u2019t right off the bat.\u00a0 I\u2019m just at a point in my career where I\u2019d rather be a great director than a great cinematographer<\/em><\/strong>, so I\u2019m getting a little more serious about honing those director\u2019s skills more than honing those cinematography skills.\u00a0 But I always want to be able to pick up the camera and make effective images.\u00a0 I\u2019m just so happy that you liked DRINKING BUDDIES!\u00a0 It was the right time and many subjects I care deeply about, all gelling together.<\/em><\/strong><\/p>\n

#<\/p>\n

8\/13\/13<\/p>\n","protected":false},"excerpt":{"rendered":"

By: debbie lynn elias I admit it.\u00a0 I am in Joe Swanberg heaven right now.\u00a0 He acts, he writes, he directs, he produces.\u00a0 He delivers quirky, strange, even weird, fun and then on the turn of a dime, hits you hard with theme and messaging that makes you think.\u00a0 And right now, we\u2019ve got two […]<\/p>\n","protected":false},"author":2,"featured_media":1475,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[233],"class_list":["post-1473","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-joe-swanberg-from-micro-budget-to-micro-brew-exclusive-11-interview"],"yoast_head":"\nJOE SWANBERG: From Micro-Budget to Micro-Brew - Exclusive 1:1 Interview - Behind The Lens Online<\/title>\n<meta name=\"description\" content=\"Behind the Lens is your home for in-depth movie reviews, filmmaker & celebrity interviews, and more, all 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